Day Seventy Three: Winter Solitude by Charles Warren Eaton
Hello and welcome to Day 73 of 100 days of Tonalism.
Today's study is 'Winter Solitude' by Charles Warren Eaton.
Of all the paintings that I've done for this series, 100 days of Tonalism. I would have to say that this is the one that has had the most favorable interest. It is the also only one in the series that I have painted three times. The first version that I painted I sold off my easel to a gentleman that came into my studio. The second was acquired by my wife, and the third is the one that I am showing you today.
I've read some biographical information about Charles Warren Eaton from the book 'A History of American Tonalism' by David A. Cleveland in today's video narration, so check that out.
Continuing on with our current essay regarding my Tonalist painting process; we've been discussing my second color pass. There's a lot that I do with my brush after doing the glazing. Unlike my first color pass where I tend to work in a methodical way from back to front, when I'm doing my second color pass I move my brush all over the panel.
Since I've usually had the first color pass sitting around for a while, I have a pretty good idea of things I want to address in the painting by the time I get into the second color pass. Sometimes there are areas in the painting that I decided I would complete in my second color pass. Also, unlike the first color pass I do not have any colors premixed on my pallet. When painting my second color pass I mix all needed colors as I go along.
This is the time in the painting process where I will make my light areas lighter and my dark areas darker. I work very hard to try to keep the freshness of the first color pass while accentuating and enhancing what is there, as well as correcting that which needs to be addressed.
It's very important in painting not to overdo it. Many amateurs make the mistake of overworking their paintings thinking that more detail and rendering is going to make the painting better. In reality, nothing could be farther from the truth.
There is a fine balance that needs to be struck at this juncture with the painting. Even more so for me these days as I've been getting into dry brushing quite a lot, using the textures of the painting to accentuate areas using the side of my brush. This gives me an effect very much like a stipple. So far I have succeeded in keeping the freshness going in my painting but it pays to be ever vigilant.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Winter Solitude' by Charles Warren Eaton; as I stated above, I've painted this painting three times now. I really love the fact that it even though it is a winter scene is such a warm and inviting painting.
His use of complementary coloration in this scene is masterful to say the least and I learned quite a lot from making several studies of it.
To see more of my work, visit my site here
 |
| Painted after - Winter Solitude by Charles Warren Eaton Study by M Francis McCarthy - Size 5x7, Oil on wood panel |
Of all the paintings that I've done for this series, 100 days of Tonalism. I would have to say that this is the one that has had the most favorable interest. It is the also only one in the series that I have painted three times. The first version that I painted I sold off my easel to a gentleman that came into my studio. The second was acquired by my wife, and the third is the one that I am showing you today.
I've read some biographical information about Charles Warren Eaton from the book 'A History of American Tonalism' by David A. Cleveland in today's video narration, so check that out.
Continuing on with our current essay regarding my Tonalist painting process; we've been discussing my second color pass. There's a lot that I do with my brush after doing the glazing. Unlike my first color pass where I tend to work in a methodical way from back to front, when I'm doing my second color pass I move my brush all over the panel.
Since I've usually had the first color pass sitting around for a while, I have a pretty good idea of things I want to address in the painting by the time I get into the second color pass. Sometimes there are areas in the painting that I decided I would complete in my second color pass. Also, unlike the first color pass I do not have any colors premixed on my pallet. When painting my second color pass I mix all needed colors as I go along.
This is the time in the painting process where I will make my light areas lighter and my dark areas darker. I work very hard to try to keep the freshness of the first color pass while accentuating and enhancing what is there, as well as correcting that which needs to be addressed.
It's very important in painting not to overdo it. Many amateurs make the mistake of overworking their paintings thinking that more detail and rendering is going to make the painting better. In reality, nothing could be farther from the truth.
There is a fine balance that needs to be struck at this juncture with the painting. Even more so for me these days as I've been getting into dry brushing quite a lot, using the textures of the painting to accentuate areas using the side of my brush. This gives me an effect very much like a stipple. So far I have succeeded in keeping the freshness going in my painting but it pays to be ever vigilant.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Winter Solitude' by Charles Warren Eaton; as I stated above, I've painted this painting three times now. I really love the fact that it even though it is a winter scene is such a warm and inviting painting.
His use of complementary coloration in this scene is masterful to say the least and I learned quite a lot from making several studies of it.
To see more of my work, visit my site here
 |
| Original painting, Winter Solitude by Charles Warren Eaton |